A 'Land Girl', an American GI, and a British soldier find themselves together in a small Kent town on the road to Canterbury. The town is being plagued by a mysterious "glue-man", who pours... See full summary »
Joan Webster is an ambitious and stubborn middle-class English woman determined to move forward since her childhood. She meets her father in a fancy restaurant to tell him that she will ... See full summary »
The best bomb disposal officer during World War II was badly injured and is in frequent pain. He finds solace and relief from his pain in the whisky bottle & the pills that are never far away. A new type of booby trapped bomb push his nerves & resolution to the limit. Written by
Steve Crook <email@example.com>
When Sammy and Susan are at the Hickory Tree night club, Susan spots Gillian, an old acquaintance, and asks Sammy to start talking, to avoid the meeting. Sammy starts, and then Susan joins in reciting the following lines: "I never nurs'd a dear gazelle, / To glad me with its soft black eye, / But when it came to know me well / And love me, it was sure to die." These lines are from the poem Lalla Rookh (in the section entitled The Fire Worshipers) by the Irish poet Thomas Moore (1779-1852). See more »
A little over 75 minutes into the film, during the scene where the character of Sammy Rice trashes his sitting room, the shadow of the boom mic can be seen reflected in the empty picture frame in the foreground of the shot. See more »
Wouldn't it be silly to break up something we both like doing, only because you think I don't like it.
Yes, you've got it all worked out in the way women always have. They don't worry about anything except being alive or dead.
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"It has been suggested that I should point out that the characters and incidents in this story are purely fictional. This I gladly do. They are." - N.B. N.B. is Nigel Balchin, the author of the original novel. See more »
This film is an interesting return to the general subject matter of Powell and Pressburger's black and white war films (49th Parallel, One of our Aircraft, etc..), but, made four years after the end of the war, it is a moody piece that focuses on a man disabled by the war. It is typical of their work in that it features brilliantly well-rounded, truly adult characters without easy answers or one-dimensional poses; it is also a departure from their other films of the period in its lack of flamboyance and otherworldly flair. The gritty style - no music, for example, and wonderfully spare dialogue by Pressburger - is perfectly echoed by the intense performances of Kathleen Byron and David Farrar. As always, Powell's keen visual sense is paramount to the brilliance of the Archers' films, and the bomb-defusing scene on the beach makes great use of the setting in its compositions and editing. Although it is not the best introduction to the work of Powell and Pressburger, this film is a keen testament to the capacity of their storytelling abilities in weaving a tale of a man who finds redemption through work and love. Whether their films are explorations of the power of art or the effects of war, I consistently find their work profoundly moving. Let's hope that it is FINALLY released on video or, better still, DVD. (Attention, Scorcese!!!!)
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